Adam Hood's third full-length album The Shape Of Things is an arresting collection of music that celebrates the beauty of life's everyday struggles. From the captivating opener and previous single "Hell Of A Fight" to the closing fade of the autobiographical "I'll Sing About Mine," Hood captures a white-hot passion to create pure art that honors Southern culture and sets it to music.
Hood worked for two years with Carnival Music, a company headed by the CMA Award-winning Frank Liddell, to build what would become the Oct. 2011 release. Produced by Oran Thornton and Matthew Miller, The Shape Of Things is arguably one of Adam's most groundbreaking records to date. The album earned Adam his first Lonestar Music Award for Singer-Songwriter/Folk Album of The Year in April, 2012. The Lonestar Music Awards also listed Adam in four other categories including Best Male Vocal; a huge feat for any non-Texas artist. The Boston Globe named Adam among its elite "12 Musical Acts To Look For In 2012." Brian Keane took "I'll Sing About Mine" to the apex of the Texas Music Chart in summer 2011, and David Nail recorded The Shape Of Things' "Grandpa's Farm" for his own Sound Of A Million Dreams. Little Big Town also cut "Front Porch Thang" for their follow-up to The Reason Why, and premiered the track to a spirited sold-out crowd during their two-song set at Keith Urban's All For The Hall concert in April, 2012.
But it was Adam's hard work on the road throughout Texas and the Southeast that laid the foundation for his current success, as well as a chance encounter with Miranda Lambert, who became an instant fan after catching Adam's set at New Braunfels' Tavern On The Gruene in fall 2007. Miranda was traveling through town with her mother Bev when their car broke down, and while waiting for a hotel vacancy, the pair ended up at the Texas music hall where Adam was plugging 2007's Different Groove on Ray Wylie Hubbard's KNBT radio show. Impressed by Adam's stirring vocals and sharp wit, Miranda called Adam within two weeks with an invitation to perform at her birthday party where he would meet producer Frank Liddell, whose production credits include the Academy of Country Music's current Album of the Year Four The Record by Miranda and Lee Ann Womack's I Hope You Dance.
Liddell then signed Adam to his publishing company Carnival Music in January 2008. At the time, Adam was performing 300+ shows a year promoting Different Groove, and was engaged in a three-year, nationwide tour with Leon Russell. "I went everywhere with Leon," Adam recalls. "We played all kinds of cool places like the Whiskey A Go Go in Hollywood, and I learned a lot about how to entertain a crowd by myself. It was good for me too because he's kept consistent fans for 30 years."
Amid the heavy tour schedule, Adam remained based out of his hometown Opelika, AL, tearing up Interstate 65 for songwriting appointments in Nashville where he would collaborate with celebrated songwriters including Chris Stapleton and Pistol Annies' Ashley Monroe. By summer 2011, Adam landed a slot on the Country Throwdown tour, sharing the bill with the fellow Alabaman Jamey Johnson and the legendary Willie Nelson, and he sold the Adam Hood EP as a taste of what was to come.
In fall 2011, Carnival released the pulsating "Flame And Gasoline" as The Shape Of Things' lead single, which was co-written with Jason Saenz. "I always joke about how it's kind of like a redneck romance," Adam says. "You see this couple go through the push and pull and tug of war that's falling in love. They're just trying to figure it out."
The next single released "Hell Of A Fight" was written with Ashley Monroe on a rainy Nashville afternoon after they each turned new leaves in their respective careers. "Every artist asks themselves, 'What am I doing?'" Adam admits. "We wrote it while we were both coming out of bad times. But we were coming out of them. It wasn't intended to be sad. Honestly, I couldn't have picked a better opening song."
Now a successful songwriter and an Alabaman with a devout Texas following, Adam says he never dreamed of being an artist. "I never realized it was possible because I'm from a small town," he says. "But I've always been the kind of guy who puts the cart before the horse, and I spent most of my 20s forcing things to happen. Honestly, that's why it's taken me so long to get here. But timing's everything."